Total Theory Review

QUICK REVIEW:
CH. 13 + 14
descending melodic minor scale: This feel and the expressive half step
(D-C# in Example 13.15) show why such descents occur more often in the
minor mode than in the major. Note that in minor, v 6 is used to precede
minor iv6 to give the bass line §....J,7....J,6-5; the use of avoids the augmented
What’s going on here?

second between j7 and First-inversion minor v and root-position v do
not function as dominants; rather, they are used as passing chords or voice-
leading chords.
EXAMPLE 13.15 Schutz, "Nacket bin ich von Mutterleibe kommen" ("Naked I have come
from my mother's womb"), Musicalischen Exequien, op. 7, SWV 279
Step-descent basses that fall directly from tonic to dominant (l-7-6-5)

are called direct step-descent basses. When direct step-descent basses are
cast in the minor mode they are known as lament basses. Lament basses
often accompany melancholy texts, which are not historically confined to the
seventeenth century. Songs such as "Hit the Road, Jack," and "Erie Canal"
are built on the same formula (Example 13.16A).
descending melodic minor scale: This feel and the expressive half step
(D-C# in Example 13.15) show why such descents occur more often in the
minor mode than in the major. Note that in minor, v 6 is used to precede
minor iv6 to give the bass line §....J,7....J,6-5; the use of avoids the augmented

second between j7 and First-inversion minor v and root-position v do
not function as dominants; rather, they are used as passing chords or voice-
leading chords.
EXAMPLE 13.15 Schutz, "Nacket bin ich von Mutterleibe kommen" ("Naked I have come
from my mother's womb"), Musicalischen Exequien, op. 7, SWV 279
Step-descent basses that fall directly from tonic to dominant (l-7-6-5)

Lament Bass! (1 down to 5 in minor)
are called direct step-descent basses. When direct step-descent basses are
cast in the minor mode they are known as lament basses. Lament basses
often accompany melancholy texts, which are not historically confined to the
seventeenth century. Songs such as "Hit the Road, Jack," and "Erie Canal"
are built on the same formula (Example 13.16A).
What is the difference between a
Chaconne and a Passacaglia?
What is the difference between a
Chaconne and a Passacaglia?
Repeating harmony
Repeating Bass line

EXAMPLE 14.5
A. Bach, Prelude in Major, The Well-Tempered Clavier, Book 2, BWV 876
B. Bach, Prelude (reduction)
Ignoring the supertonic harmony is not a reasonable inte

because it clearly plays an important role in the excerpt.
EXAMPLE 14.5

EXAMPLE 14.5
BRD

EXAMPLE 14.5
B. Back-relating
Bach, Prelude (reduction)dominant is a dominant chord
which is prolonging a previous tonic without
resolving to another tonic (like a passing V
might)

EXAMPLE 14.5
B. Back-relating
Bach, Prelude (reduction)dominant is a dominant chord
which is prolonging a previous tonic without
resolving to another tonic (like a passing V
might)
RETROGRESSION is a functional movement from

dominant to predominant (backwards function)
QUICK REVIEW:
PART-WRITING PRINCIPLES
PART WRITING, WOO!
▸ Use minimal motion - but sometimes a skip/

jump can get you out of a tricky spot (try to
rebound).
PART WRITING, WOO!

rebound).
▸ Figured Bass is Dumb! It tells you exactly what to

do, no nuance.
PART WRITING, WOO!

rebound).

do, no nuance.
▸ Rewrite everything!
PART WRITING, WOO!

rebound).

do, no nuance.
▸ Rewrite everything!
▸ Start sensibly, but be prepared to start over!
PART WRITING, WOO!
▸ Look out for parallel-possibilities

▸ IV - V - vi
PART WRITING, WOO!

▸ IV - V - vi
▸ Leading tone and Chordal 7th must resolve!
▸ V7 - I and V7 - vi and V7/x - x
▸ The leading tone in a iii chord needn’t.

PART WRITING, WOO!

▸ IV - V - vi
▸ Leading tone and Chordal 7th must resolve!
▸ V7 - I and V7 - vi and V7/x - x
▸ The leading tone in a iii chord needn’t.

▸ No doubling the leading tone!
▸ Take note of the leading tone before you start.
▸ If you’re in c minor — be on the lookout for B naturals!
PART WRITING, WOO!
▸ Other tendency tones that must resolve?

PART WRITING, WOO!
▸ Other tendency tones to resolve?

▸ SD b6 - 5 in modal mixture
▸ SDs #4 and (b)6 going to SD 5 in Aug6
▸ SD b2 going toward LT (often through SD 1)

REVIEW:
APPLIED CHORDS /
TONICIZATION / MODULATION
APPLIED CHORDS — T O N I C I Z AT I O N — M O D U L AT I O N
Local
Brief Tonicization
Prolongational
Local
Brief Tonicization
Prolongational
Fleeting
Often Within Phrases
Do not disrupt home key
Local
Brief Tonicization
Prolongational
Fleeting
Cadence in New Key

New Key Continues
APPLIED CHORDS
• V/x (or inversions)
• V7 / x (or inversions)
• vii˚ / x (or inversions)
• vii˚7 / x (or inversions)
• vii⌀7 / x (or inversions)
x = a major or minor chord
x determines function !
APPLIED CHORDS
• V/x (or inversions)
• V7 / x (or inversions)
• vii˚ / x (or inversions)
• vii˚7 / x (or inversions)
• vii⌀7 / x (or inversions)
• x = a major or minor chord
• x determines function !
vi, V7 /IV precedes IV, and V7 /V precedes
MPLE 18.2 Second level analysis?
The second method is to alter diato

vi, V7 /IV precedes IV, and V7 /V precedes V.
Applied Chords are Prolongational
XAMPLE 18.2
The second method is to alter diatonic

them into applied dominants and seeing
-vi-IV-V-I is expanded
progression with chromatic
I-vi-IV-V-I chords:
is expanded V7chromatic
with /vi precedc
cedes IV,vi,
andV 7V 7 /Vprecedes
/IV precedesIV,
V. and V7 /V precedes V.
Applied chords take on the function of
18.2 the chord they’re ‘applying’ to.
The
d method is to second methodchords
alter diatonic is to alter diatonic chords
chromatically, c
changin
them into and
plied dominants applied dominants
seeing and point
where they seeingas where th
domina
cedes IV,vi,
andV7V 7 /V
/IV precedesIV,V.and V7 /V precedes V.
precedes
18.2
d method The
is to second methodchords
alter diatonic is to alter diatonic chords
chromatically, chang
them into and
plied dominants applied dominants
seeing and point
where they seeingaswhere
domint
tonicize ii of C major. Because of the varied types and inversion o
chords-vii 07 /ii, vii 06 /ii and vii 0 j/ii-the supertonic can be toni
some time (nearly half of the example's four measures). Note that t
Same goes for applied
function leading-tone
of ii as a pre-dominant remains chords.
unchanged. The tonici
functions as a way station that helps to connect tonic and dominant.
EXAMPLE 18.11 Applied vii 0 and vii 07
Incorporating Applied Chords Within Phrases

There are no new rules to learn when writing applied chords in
however, you must consider metric and rhythmic placement in
create a balanced and pleasing structure. Listen to Example 18
determine its phrase structure and the metrical placement of the
chords. Beethoven has created a parallel interrupted period, an
applied chord appears on a metrically weak beat. Weak metrical pla
tonicize ii of C major. Because of the varied types and inversion o
chords-vii 07 /ii, vii 06 /ii and vii 0 j/ii-the supertonic can be toni
some time (nearly half of the example's four measures). Note that t
Same goes for applied
function leading-tone
of ii as a pre-dominant remains chords.
unchanged. The tonici
functions as a way station that helps to connect tonic and dominant.
EXAMPLE 18.11 Applied vii 0 and vii 07
Incorporating Applied Chords Within Phrases

There are no new rules to learn when writing applied chords in
Inversions can be
however,used for
you must smoother
consider voice
metric and leading.
rhythmic placement in
create a balanced and pleasing structure. Listen to Example 18
determine its phrase structure and the metrical placement of the
chords. Beethoven has created a parallel interrupted period, an
applied chord appears on a metrically weak beat. Weak metrical pla
Voice leading for applied chords?
T E M P O R A RY L E A D I N G T O N E S A N D T E M P O R A RY
S E V E N T H S M U S T B E R E S O LV E D
( J U S T L I K E Y O U W O U L D W I T H A D I AT O N I C V 7 O R V I I O 7 )
Voice leading for applied chords?
T E M P O R A RY L E A D I N G T O N E S A N D T E M P O R A RY
S E V E N T H S M U S T B E R E S O LV E D
( J U S T L I K E Y O U W O U L D W I T H A D I AT O N I C V 7 O R VIIO7 )
A couple related concerns…
A couple related concerns…
C R O S S R E L AT I O N S A N D T O N I C I Z E D H A L F C A D E N C E S
C R O S S R E L AT I O N
• When a chromatic tone is prepared by another voice.
•
awkward leaps in the soprano and tenor
LE 18.9 Cross Relation
(Remember chromatic alteration?

awkward leaps in the soprano and tenor
LE 18.9 Cross Relation
AVOID
AVOID
But… if you have to use a cross relation, avoid using

outer voices.
EXAMPLE
352 18.6 Beethoven, Piano Trio in BTHE
major, op. 1, MUSICIAN
COMPLETE Finale
A.
T O N I CBeethoven,
EXAMPLE 18.6 I Z E DPiano
H Trio
A LinFB major,
C Aop.D1,EFinale
NCES
A.
EXAMPLE
COMPLETE Finale
A.
EXAMPLE 18.6
What kind of phrase structure?
Beethoven, Piano Trio in B major, op. 1, Finale
A.
EXAMPLE
COMPLETE Finale
A.
EXAMPLE 18.6
PIP!
A.
EXAMPLE
COMPLETE Finale
A.
EXAMPLE 18.6
Where are the applied chords?
A.
A.
Recognizing applied chords is not difficult: Aurally they have a distincti
dominant sound, and visually they have a distinctive notation.
chromatically raised note is often the third of an applied dominant cho
DE
(which T Eleading
is the CTIN GforAitsPkey),
tone P L and
IED CHORD
a chromatically S note
lowered
often the seventh of the applied dominant chord.
In Example 18.7, the first chromatic pitch is F#, and as a raised pitch
signals its function asLook for accidentals!
a temporary leading tone toG (and, of course, G is
in D minor, which helps you analyze the chord as a V /iv). Similarly,
Raised pitches
(diatonic (sharps,
E's lowered form; m.naturals)
1, beat 4)are often
implies that‘leading tones’
it will function as t
Lowered
seventh of pitches (flats,
an F dominant naturals)
seventh chord, are
as V7often
/VI. ‘chordal 7ths’
Detecting Applied Chords
Recognizing applied chords is not difficult: Aurally they have a distincti
dominant sound, and visually they have a distinctive notation.
chromatically raised note is often the third of an applied dominant cho
DE
(which T Eleading
is the CTIN GforAitsPkey),
tone P L and
IED CHORD
a chromatically S note
lowered
often the seventh of the applied dominant chord.
Applied chords are often followed by the chord they are
In Example 18.7, the first chromatic pitch is F#, and as a raised pitch
signals its function as“of”, but not
a temporary always.
leading tone toG (and, of course, G is
in D minor, which helps you analyze the chord as a V /iv). Similarly,
(diatonic E's lowered form; m. 1, beat 4) implies that it will function as t
Look
seventhatofthe
an F chord
dominant which
seventhfollows
chord, asthe applied chord to
V7 /VI.
Detecting check
Appliedyour work,
Chords don’t totally rely on it.
18.3
D E T E C T I N Each
G Aof PthePfollowing
L I E D excerpts
C H Ocontains
R D Sat least one a
key listed for each example, analyze each of the chor
SOLVED/APP 6
A. Haydn, String Quartet in F minor, op. 55, no. 2, Hob 111.61

DETECTING APPLIED CHORDS
E. Schubert, Piano Sonata in major, op. 122, D. 568
Exercise 18.4
A4.
EXAMPLE 19.1
A. Schumann, "Talismane," Myrten, op. 25, no. 8
372 THE COMPLETE MUSICIAN
371
EXAMPLE 19.1
371
? ? ? ? ?
EXAMPLE 19.1
371
g A ii A ii
EXAMPLE 19.1
371
v V/ii ii V/ii ii
EXAMPLE 19.1
371
“”iv/ii”” V/ii ii V/ii ii

T H I S I S T O N I C I Z AT I O N !
B. Measures 5-8 of the excerpt, with extended tonicization.
Let's apply this method of analysis to the following examples from the
Notice how the shift towards ii (d minor) is within the
literature, each of which demonstrates an extended tonicization.
phrase (extended
EXAMPLE 19.2 Beethoven,PD)
Piano and doesn’t
Sonata in H major, op.disrupt the home key.
27, no. 1, Andante
REVIEW: MORE
CHROMATIC HARMONY
CHROMATICISM
CHROMATICISM
From the parallel minor?
MODAL MIXTURE
nope. CHROMATICISM
From the parallel minor? Quality?
MODAL MIXTURE
nope. CHROMATICISM
MAJOR DIMINISHED
MODAL MIXTURE
DOMINANT
CHROMATICISM
Quality?
MAJOR DIMINISHED
DOMINANT
APPLIED CHORD?
CHROMATICISM
Quality?
MAJOR DIMINISHED
DOMINANT
APPLIED CHORD?
CHROMATICISM
Quality?
MAJOR DIMINISHED
DOMINANT
APPLIED CHORD?
CHROMATICISM
COMMON TONE?
Quality?
MAJOR DIMINISHED
DOMINANT
nope.
APPLIED CHORD?
CHROMATICISM
COMMON TONE?
Quality?
MAJOR DIMINISHED
DOMINANT
nope.
CTo7
APPLIED CHORD?
CHROMATICISM
Quality?
MAJOR DIMINISHED
DOMINANT
CHROMATICISM
Quality?
MAJOR DIMINISHED
DOMINANT
CHROMATICISM
MAJOR DIMINISHED
MODAL MIXTURE
nope. DOMINANT
CHROMATICISM
MAJOR DIMINISHED
MODAL MIXTURE
nope. DOMINANT
APPLIED CHORD?
CHROMATICISM
MAJOR DIMINISHED
MODAL MIXTURE
nope. DOMINANT
APPLIED CHORD?
nope.
CHROMATICISM
MAJOR DIMINISHED
MODAL MIXTURE
nope. DOMINANT
APPLIED CHORD?
NEAPOLITAN
nope.
NEAPOLITAN 6 CHORD
(N6)
A Major Chord
NEAPOLITAN 6 CHORD
(N6)
A Major Chord
Built off the lowered second scale degree
NEAPOLITAN 6 CHORD
(N6)
A Major Chord
Built off the lowered second scale degree
In first inversion (6)
NEAPOLITAN 6 CHORD
(N6)
If we are in the key of:
C Major
C minor
C# Major
Eb minor
Cb Major
NEAPOLITAN 6 CHORD
(N6)
If we are in the key of:
C Major (Db)
C minor (Db)
C# Major (D)
Eb minor (Fb)
Cb Major (Dbb)
NEAPOLITAN 6 CHORD
(N6)
FUNCTION?
NEAPOLITAN 6 CHORD
(N6)
FUNCTION?
Predominant… N6 heads toward V

NEAPOLITAN 6 CHORD
(N6)
Part writing concerns…
N6 - V
b2 - 7
NEAPOLITAN 6 CHORD
(N6)
N6 - ? - V
b2 - 1 - 7
NEAPOLITAN 6 CHORD
(N6)
b2 - 1 - 7
N6 - viio7/V - V
NEAPOLITAN 6 CHORD
(N6)
b2 - 1 - 7
N6 - viio7/V - V
N6 - viio7/V - V64 - V53
NEAPOLITAN 6 CHORD
(N6)
b2 - 1 - 7
N6 - viio7/V - V
N6 - viio7/V - V64 - V53
N6 - V64 - V53
m6-Vprogressions will have a motion in one of the upper
voices-usually the soprano (Example 23.2A).
Double the bass, 4. (See Example 23.2A.) If necessary, double 6.
NEAPOLITAN
In minor, any chord that6would
CHORD
precede ii 06 can also precede m6.
In major, the common chords before m6 are tonic (I) and mixture
chords (N6)
iv). When writing in major, avoid the augmented
second that occurs between 3 and (Example 23.2C).
The ultimate goal of the Neapolitan chord is to move to V. However,
m
there are two common ways to move from 6 to V, both of which
harmonize a passing i (Example 23.3).
EXAMPLE 23.3 Filling the Space Between and 7
EXERCISE INTERLUDE
WRITING
23.1
ther than an awkward tritone leap from to 5 (Example 23.2B
ajor major
e, both
mode, mode,
theboth theboth
supertonic the supertonic
and theand
supertonic and the
submediant aresubmediant
the submediantlowered ar
an
are lowered
y), asrespectively),
in Example
spectively), as in Example
23.2C.
as in Example 23.2C. 23.2C.
NEAPOLITAN 6 CHORD
(N6)
2mmon
Common
Neapolitan Neapolitan
ContextsContexts
Contexts
Neapolitan
In Major, avoid the 3 - b2!

NEAPOLITAN 6 CHORD
(N6)
b2 - (1) - 7
Double the Bass!

never double the b2
CHROMATICISM
Quality?
MAJOR DIMINISHED
DOMINANT
APPLIED CHORD?
nope.
CHROMATICISM
Quality?
MAJOR DIMINISHED
DOMINANT
APPLIED CHORD?
CHROMATICISM
Quality?
MAJOR DIMINISHED
DOMINANT
APPLIED CHORD?
nope.
CHROMATICISM
Quality?
MAJOR DIMINISHED
DOMINANT
GER. 6
APPLIED CHORD?
nope.
CHROMATICISM
Augmented Sixth?
CHROMATICISM
Augmented Sixth?
+ Scale Degree 1
IT. 6
CHROMATICISM
Augmented Sixth?
+ Scale Degree 1
+ Scale Degree 2
IT. 6 FR. 6
CHROMATICISM
Augmented Sixth?
+ Scale Degree 1 + P5 above ‘bass’
+ Scale Degree 2
IT. 6 FR. 6 GER. 6

THE AUGMENTED 6TH
ITALIAN , FRENC H, GERMAN (AND SWISS…)
• Augmented Sixth chords are Predominant…

THE AUGMENTED 6TH
• Augmented Sixth chords are Predominant…
• So… they resolve to…?

THE AUGMENTED 6TH
• Give an example of some chords we’ve learned this semester

which resolve to V.
THE AUGMENTED 6TH

which resolve to V.
• Applied Chords (V/V, V7/V, viio7/V…)

THE AUGMENTED 6TH

which resolve to V.
• Mixture Chords (iv, bVI, iio)

THE AUGMENTED 6TH

which resolve to V.
• Neapolitan Chord (bII)

THE AUGMENTED 6TH

which resolve to V.
• What pitches are doing the functional work in these chords?

THE AUGMENTED 6TH

which resolve to V.
• What pitches are doing the functional work in these chords?

half cadence. In Example 24.2B, the chromatic F# fills
and G, and the passing motion creates an interval of
THE AUGMENTED
Finally, Example 24.2C shows the 6THaugmented sixth c
with no, FRENC
entity, ITALIAN consonant preparation.
H, GERMAN (AND SWISS…)
• Augmented 6th chords are REALLY Predominant

2 Phrygian Cadence Generates the Augmented Sixth Cho
Mixture (b6) Applied (#4) Aug6

Given that the augmented sixth chord also occurs
ask if it is an example of an applied chord or a mixtu
this question, consider the diatonic progression in E
THE AUGMENTED 6TH
• So every kind of Aug6 chord has that same augmented 6th shell
• Between the b6 and the #4
• The pitches which flank the 5th scale degree on either side
THE AUGMENTED 6TH
• So let’s say we’re looking at a piece in the key of A Major
• What pitches are we looking for to identify the aug6?

THE AUGMENTED 6TH
• So let’s say we’re looking at a piece in the key of A Major
• F natural and D#
THE AUGMENTED 6TH
• So let’s say we’re looking at a piece in the key of g minor

THE AUGMENTED 6TH
• Eb and C#
• What else do we have to check for?

THE AUGMENTED 6TH
• Eb and C#
• If it ‘cashes out’ functionally.

THE AUGMENTED 6TH
• Eb and C#
CHAPTER 24 THE AUGMENTED SIXTH CHORD
AMPLE• 24.10 Chromaticized Bass Descent Expands PD

If it ‘cashes out’ functionally.
THE AUGMENTED 6TH
• Three main types of Aug6. Memorize them in this order:
• Italian (simplest, only 3 pitches)
• French (whole tone, 4 pitches)
• German (sounds dominant, 4 pitches)

CHROMATICISM
Augmented Sixth?
(#4 + b6)
CHROMATICISM
Augmented Sixth?
CHAPTER
(#4 + b6) 24 THE AUGMENTED SIXTH CHO
EXAMPLE 24.10 Chromaticized Bass Descent Expands PD

+ Scale Degree 1
IT. 6
CHROMATICISM
Augmented Sixth?
(#4 + b6)
+ Scale Degree 1
+ Scale Degree 2
IT. 6 FR. 6
CHROMATICISM
Augmented Sixth?
(#4 + b6)
+ Scale Degree 2
IT. 6 FR. 6 GER. 6

CHROMATICISM
REMEMBER! b6 is only
chromatic in MAJOR…
in minor the 6th scale

degree is already flat
Augmented Sixth?
(#4 + b6)
+ Scale Degree 2 (only if bass is b6)
IT. 6 FR. 6 GER. 6

In major keys, this added pitch is When a occurs in the major
mode and leads to a cadential with a major sixth above the bass,
composers often notate using the enharmonic equivalent #2
(Example 24.7E).
PLE 24.4 Common Types of Augmented Sixth Chords

THE AUGMENTED 6TH
• First, write the bass of the V chord (the chord AFTER the aug6)
• Double it in an upper voice (probably soprano)
• Then, go back to the Aug6 and write the aug 6th tendency tones
• The bass (b6) should resolve down to 5
• The upper voice (#4) should resolve up to 5
• Add scale degree 1
• Finally:
• Italian: Double scale degree 1
• French: Add scale degree 2
• German : Add 5th above the bass

In major keys, this added pitch is When a occurs in the major
mode and leads to a cadential with a major sixth above the bass,
composers often notate using the enharmonic equivalent #2
(Example 24.7E).
PLE 24.4 Common Types of Augmented Sixth Chords

CHROMATICISM
IS IT GOING TO V ?
Augmented Sixth?
+ Scale Degree 2
IT. 6 FR. 6 GER. 6

the augmented sixth chord returns to th
common-tone function. Nineteenth-cen
CHROMATICISM
chromatic third-related vacillations.
IS IT GOING TO V ?
E 29.20 Common-Tone Augmented

Augmented Sixth? Sixth
+ Scale Degree 2
IT. 6 FR. 6 GER. 6

CHROMATICISM
IS IT GOING TO V ?

+ Scale Degree 2
IT. 6 FR. 6 GER. 6

CHROMATICISM
IS IT GOING TO V ?

+ Scale Degree 2
IT. 6 FR. 6 GER. 6
nope.
Local
Brief Tonicization
Prolongational
Fleeting
Strong Cadence in New Key

New Key Continues
rare nature of vi 6-and its spelling as the common ii6 in the n
key-is one indication that the key is already changing.
PIVOT CHORD
EXAMPLE 19.7 M Sonata
Mozart, Piano O D U in
L AT I O NK. 284, Thema, Andante
D major,
CHAPTER 19 TONICIZATION AND MODULATION 37
Writing Modulations
You must test your modulations with performance, because often wha
looks like a successful pivot chord may, in actuality, not work at all. This i
because in addition to the following voice-leading rules, you must establis
two keys in a convincing manner. The following guidelines will help you t
PIVOT CHORD
D major,
Writing Modulations Strong cadence in new key

You must test your modulations with performance, because often wha
PIVOT CHORD
D major,
Work backwards from there to find pivot chord.

Writing Modulations
PivotYou
chord: ‘last’ chord diatonic to both keys
must test your modulations with performance, because often wha
PIVOT CHORD
D major,
Work backwards from there to find pivot chord.

Writing Modulations
PivotYou
chord: ‘last’ chord diatonic to both keys
must test your modulations with performance, because often wha
PIVOT CHORD
D major,
Writing Modulations
Pivot chord
You is often
must test a predominant
your in performance,
modulations with new key…because
why? often wha
because in addition to the following voice-leading rules, you must establish
two keys in a convincing manner. The following guidelines will help you to
write modulations.
Eb
Is there a chord diatonic to both keys to use as a pivot?
Eb
No. But there is a chord which makes sense as a chromatic pivot.
Eb
Chromatic Pivot Chords are often MODAL MIXTURE chords
Eb
T Y P E S O F M O D U L AT I O N ? ? ?
▸ Diatonic Pivot Chord Modulation

▸ Closely related keys
▸ Chromatic Pivot Chord Modulation
▸ Often modal mixture

▸ ????
T Y P E S O F M O D U L AT I O N ? ? ?
▸ Diatonic Pivot Chord Modulation

▸ Closely related keys
▸ Chromatic Pivot Chord Modulation
▸ Often modal mixture

▸ Direct (sudden) Modulation
▸ Common Tone Modulation
▸ Sequences for Modulation
REVIEW:
SEQUENCES
THE EASY STUFF… THREE-ISH TYPES OF SEQUENCES
▸ D2
▸ (-5/+4)
▸ D3
▸ (-4/+2… Pachelbel…)
▸ A2
▸ (+5/-4)
▸ (-3/+4)
beams in Example 17.4. The A2 ( +5/ -4) sequence-which typi
only-results in a large-scale step ascent that u
EXAMPLE 17.4 The D2 Sequence as shown in Example 17.10B, a leap to 6 as par
that ii 0 and VI chords are skipped in Exa
asterisk). This is typically done to avoid the tri
EXAMPLE 17.10 A2 (+5/-4) Sequence
EXAMPLE 17.8A IfThe

the D3 Sequence
above example had only the beamed chords in Example 17.4, it
would result in parallel motion in all voices. Another important function
A.
of sequences is that the second chord of the model (and of each of its
copies) breaks up the potential parallels that result from moving
downward by step. These helping chords that appear in each sequence are
called voice-leading chords.
CHAPTER 17 HARMONIC SEQUENCES Note that the major-mode D2 ( -5/ +4)333 contains a melodic tritone in the
bass near its beginning; in the minor mode, the tritone occurs near the end
of the sequence (tritones are circled Another Ascending-Second
in Example need to A2 (-31
17.4). Given theSequence:
The A2 ( +5/ -4) sequence-which keep thetypically
pitches from occurs in root
spiraling position
outside
Similar of
tothe
thekey,
A2 this
(+5/ bass
-4)tritone leap, the A2 ( -3
sequence,
only-results in a large-scale step though
ascent that usually moves
uncommon in traditional to a PD on
by rising4 (or,
harmonic
secondsprogressions,
leading tois the bothPD, as illu
as shown in Example 17.10B, a leap to 6 as part
acceptable andofnecessary
a Phrygian in cadence). NoteFor example, in the key of C
this sequence.
that ii 0 and VI chords are skipped major,inif the sequence
Example were (marked
17.10B
propulsion
to move in
bystrict
for this sequence comes from a spri
an perfect fifths, it would spin
asterisk). This is typically done to off intothe
avoid chromatic areas(2-6)
tritone leap and requireto bass.
in the begin the of
six copies next
the copy
modelofto the
returnmodel.
to the
tonic
EXAMPLE 17.10 A2 (+5/-4) Sequence As analysis,
In your in the D2
EXAMPLE yousequence, the second
may have noticed
17.11 A2 (-3/+4) chord
that the harmonization
Sequence 7 in
of the D3ofsequence's mod
major and 2 in minor creates root-position diminished triads
each copy) is a voice-leading chord, because it avoids the potential p (vii 0 and ii 0 ),
which so far have not been permitted. Within sequences, these sonorities
are that resultoffrom
members falling
a larger directly by thirds. pattern and are not
contrapuntal/harmonic
Listen
independent to Example
entities; 17.8A and
they are allowed note
in order the miniature
to participate in the deceptive
overall motion
and the
repeating stepwise
pattern. descending
In Example soprano
17.5, the stately D2 line; these
( -5/ +4) are common
sequence in G charac
minor maintains its contrapuntal/harmonic pattern
of the D3 (-4/ +2) sequence. Also observe the minor v chord in through the entire
circle of fifths in that key, arriving back at the tonic. Therefore, we hear not
Example 17.8C, which
only the strong tritone
is necessary to avoidbut
in the bass
augmented
thealso the ii 0 in
second b
and
root position. m.
no. 1, Trio
How to detect a sequence…
The D3 (-41+2) Sequence

In the diatonic D3 ( -4/ +2) sequence, the second chord of each pair lies a
fourth below the first, creating a back-relating dominant (Example 18.22A).
A dramatic forward motion occurs in the applied-chord form of this
sequence, seen in Example 18.22. Because each applied chord creates a
temporary leading tone that leads to its own following tonic, the second
chord of each copy functions as a dominant of the following-and not the
no. 1, Trio
1. Something looks sequencey!

no. 1, Trio

no. 1, Trio

2. Figure out the ROOT MOTION (and don’t be fooled by bass motion)

no. 1, Trio
Bb7 Eb7 Ab7 Db7 Gb


no. 1, Trio
Bb7 Eb7 Ab7 Db7 Gb

3. Find the Model, Find the copies
no. 1, Trio
Model Copy Copy Copy Copy
Bb7 Eb7 Ab7 Db7 Gb

no. 1, Trio
Model Copy Copy Copy Copy
Bb7 Eb7 Ab7 Db7 Gb

no. 1, Trio
Model Copy
Bb7 Eb7 Ab7 Db7 Gb

The D3
THE(-41+2)
MODEL ISSequence
A CHORD PROGRESSION
EXAMPLE 17.8A The D3 Sequence
A.
As in the D2 sequence, the second chord of the D

each copy) is a voice-leading chord, because it avoi
that result from falling directly by thirds.
Listen to Example 17.8A and note the miniature
and the stepwise descending soprano line; these ar
Model is more than one chord!

A.

Label refers to interval between model and copy!

A.

Label refers to interval between model and copy!

A.

Arabic Numerals (+2,-4,+5,
each copy)etc)
is refer to seconds,chord,
a voice-leading thirds, because
fourths, etc!
it avoi
no. 1, Trio
Model Copy
Bb7 Eb7 Ab7 Db7 Gb

The D3
THE(-41+2)
MODEL ISSequence
A CHORD PROGRESSION
no. 1, Trio
Model Copy
Bb7 Eb7 Ab7 Db7 Gb

The D3 (-41+2)
THE MODEL Sequence
IS A CHORD PROGRESSION
4. Bracket and label (A2, D2,
fourth D3)the
below based
first,oncreating
the interval of change between
a back-relating dominantmodel and copy
(Example 18.22A).
no. 1, Trio
Model Copy
Bb7 Eb7 Ab7 Db7 Gb
D2 (falling fifths) (-5/+4)

2. FigureThe
out D3
the (-41+2)
ROOT MOTION (and don’t be fooled by bass motion)
Sequence
3. FindD3
In the diatonic the(Model,
-4/ +2)Find the copies
sequence, the second chord of each pair lies a
fourthTHE
below the first, creating a back-relating dominant (Example 18.22A).
MODEL IS A CHORD PROGRESSION
4. Bracket and label (A2, D2, D3) based on the interval of change between model and copy
APPLIED CtheHdiatonic
O RformD of S
the E
D2 Q
( -5/U
+4)E N CinEExample
S 18.19A, then
The D2 (-5/+4) Sequence
Review sequence
note that a chromatic version of it appears when applied chords substitute for
D2
diatonic chords. The result is the sequence seen in Example 18.19B.
EXAMPLE 18.19 Diatonic Versus Applied D2 Sequences
It is particularly common to add sevenths to the triads of the D2 (-5/+4)

applied-chord sequence, thereby enhancing the sequence's goal-directed
motion. These seventh chords may be alternating (Example 18.20A) or
interlocking (Example 18.20B). Notice the presence of parallel tritones in the
upper voices of 18.20B and in mm. 9-12 in the left hand of Beethoven's
"Moonlight" Sonata (Example 18.21).
O RformD of S
the E
D2 Q
( -5/U
+4)E N CinEExample
S 18.19A, then
Review sequence
D2
F b e a d G C

O RformD of S
the E
D2 Q
( -5/U
+4)E N CinEExample
S 18.19A, then
Review sequence
D2
F b e a d G C
F B e A d G C
O RformD of S
the E
D2 Q
( -5/U
+4)E N CinEExample
S 18.19A, then
Review sequence
D2
F b e a d G C
F B e A d G C
motion. These seventh chords may be V/iii iii V/ii(Example
alternating ii 18.20A) or
inversion triads-the ascending 5-6 sequence (E
converted into an applied-chord sequence simply
step. This creates a powerful harmonized chr
APPLIED C H functions
O R D asS aE7,Qwhich
U E leads
N CtoE the
S upcoming ro
18.24B). Example 18.24C adds the seventh to the ap
A2
EXAMPLE 18.24 Applied A2 Sequences: First Inversion
This sequence also employs root-position appl

APPLIED CHORD SEQUENCES
D3 - A little different!
(-4/+2) Changes to (+3/-5)

CHAPTER 18 APPLIED CHORDS
MPLE 18.22 Diatonic Versus Applied D3 Sequences
A. D3 (diatonic)
B. D3 (with applied chords)

APPLIED CHORD SEQUENCES
D3 - A little different!
(-4/+2) Changes
CHAPTER 18 to (+3/-5)
APPLIED when using
CHORDS
Applied
MPLE 18.22 Diatonic Versus AppliedDominants
D3 Sequences
A. D3 (diatonic)
B. D3 (with applied chords)

CHAPTER
CHAPTER 18
18 APPLIED CHORDS
APPLIED CHORDS 36
EXAMPLE D3 Diatonic
EXAMPLE18.22
18.22 -Diatonic
Change Versus with
Applied Applied
Versus Applied SequencesDominants
D3 Sequences
A. D3
A. D3 (diatonic)
(diatonic)
B.B. D3
D3(with
(with applied
applied chords)
chords)
Inverted chords help to smooth out the angular leaps created by roo
e soprano). Note the bass's hooking contour in Example
onant leap to the applied chord's leading tone is balanced by
ion in the opposite direction. ExampleD318.23C demonstrates
d root-position diminished seventh chord may also be
the Or stays
applied (-4/+2)
dominant using
chords applied
in Example 18.23B,leading-tone
creating a chords.
uence.
vii07 in D3 Sequences
REVIEW: PERIODS
PERIODS
▸ There are 8 types of periods.

▸ You have to memorize them.
▸ Page 386!
▸ What do all of those 8 types have in common?

PERIODS
▸ There are 8 types of periods.

▸ You have to memorize them.
▸ Page 386!
▸ What do all of those 8 types have in common?

▸ Antecedent / Consequent //
▸ Two phrases!
PERIODS - IDENTIFYING THE 8 TYPES
▸ Melody
▸ Harmony
▸ Melody
▸ Parallel or Contrasting?
▸ Harmony
▸ Interrupted or Continuous?
▸ Sectional?
▸ Progressive?
▸ Melody
▸ Parallel = Phrases Same/Similar (A - A’)
▸ Contrasting = Phrases Different (A - B)

▸ Melody
▸ Parallel = Phrases Same/Similar (A - A’)
▸ Contrasting = Phrases Different (A - B)
▸ Good rule of thumb: Look at the beginning of

each phrase.
EXAMPLE 15.2
A. Mozart, Piano Concerto in D minor, K. 466, Andante

EXAMPLE 15.2
PARALLEL
CHAPTER 15 THE PERIOD
B. Beethoven, Piano Sonata in major, no. 11, op. 22, Menuetto
Both periods in Example 15.2 are in the key of major and

two four-measure phrases. Although the examples sound very diff
CONTRASTING

Sample Analyses of Periods and Some
Analytical Guidelines
Listen to Example 15.5 and consider the five questions and answers that
follow.
EXAMPLE 15.5 Mozart, Die Zaubeifliite (The Magic Flute), K. 617, act I, finale
1. Can the excerpt be divided into two or more phrases?

Answer: Yes, it can be divided into two four-measure phrases, each
of which ends with a cadence.
2. Do these phrases create an antecedent-consequent relationship?
Answer: Yes, the first phrase sounds harmonically open (ending on a
HC) and melodically open (ending on the leading tone); the second
Sample Analyses of Periods and Some
Analytical Guidelines
Parallel or Contrasting?
Listen to Example 15.5 and consider the five questions and answers that
follow.
EXAMPLE 15.5 Mozart, Die Zaubeifliite (The Magic Flute), K. 617, act I, finale
Antecedent
PARALLEL Consequent
1. Can the excerpt be divided into two or more phrases?

Answer: Yes, it can be divided into two four-measure phrases, each
of which ends with a cadence.
2. Do these phrases create an antecedent-consequent relationship?
Answer: Yes, the first phrase sounds harmonically open (ending on a
HC) and melodically open (ending on the leading tone); the second
▸ OK… so that’s the easy part.

▸ Harmony
▸ Harmony
▸ Harmony
▸ Interrupted: Second phrase starts over at tonic.
▸ Continuous: Second phrase continues movement

through the phrase model.
▸ Harmony
▸ I - - - - - - - HC // I - - - - - - - - AC

▸ Harmony
▸ I - - - - - - - HC // I - - - - - - - - AC

▸ I - - - - - - - HC / V - - - - - - - - AC
▸ Harmony
▸ I - - - - - - - HC // I - - - - - - - - AC

▸ I - - - - - - - HC // V - - - - - - - - AC
▸ I - - - - - - - HC // PD - - - - - - AC
▸ Harmony
▸ I - - - - - - - HC // I - - - - - - - - AC
▸ Continuous: Second phrase continues movement through

the phrase model.
▸ I - - - - - - - HC // V - - - - - - - - AC
▸ I - - - - - - - HC // PD - - - - - - AC
▸ I - - - - PD - - - - // D - - - - - - - -AC
EXAMPLE 15.2

EXAMPLE 15.2

EXAMPLE 15.2 Parallel Interrupted Period
EXAMPLE 15.2 PIP


Contrasting Continuous Period

CCP

▸ Harmony
▸ Sectional?
▸ Progressive?
▸ Harmony
▸ Sectional?
▸ Sectional trumps interrupted!
▸ Progressive?
▸ Progressive trumps anything!

▸ Harmony
▸ Sectional?
▸ Sectional: I - - - - - IAC // I - - - - - - PAC
▸ Progressive?

▸ Harmony
▸ Sectional?
▸ Sectional: I - - - - - IAC // I - - - - - - PAC
▸ Progressive?
▸ Progressive: Phrase 2 ends with an AC somewhere

other than tonic.
EXAMPLE 15.3 Mozart, Piano Sonata in major, K. 281, Allegro
A period is a formal structure in which the final phrase closes som

EXAMPLE 15.3 Mozart, Piano Sonata in major, K. 281, Allegro

EXAMPLE 15.3 Mozart,Parallel Sectional

Piano Sonata Period
in major, K. 281,(PSP)
Allegro

EXAMPLE 15.4 Beethoven, Piano Sonata in D major, op. 28, Andante

302 Parallel Progressive Period (PPP)MUSICIAN
THE COMPLETE
EXAMPLE 15.4 Beethoven, Piano Sonata in D major, op. 28, Andante

Period Diagrams and Their Labels

Period label Abbreviation Formal diagram
parallel
interrupted
period PIP
contrasting
interrupted
period CIP
parallel
sectional
period PSP
contrasting
sectional
period CSP
parallel
continuous
period PCP
contrasting
continuous
period CCP
parallel
progressive
period ppp
contrasting
progressive
period CPP
example is a period, provide a formal diagram and period label. Note: You may
find it useful to mark up the music to help you with your analysis. Do not
analyze every harmony.
SOLVED/APP 6
A. Mozart, Piano Sonata in major, K. 333, Allegretto grazioso
SOLVED/APP 6
B. Mozart, Symphony no. 39 in major, K. 543, Allegretto

SOLVED/APP 6
SOLVED/APP 6

SOLVED/APP 6
SOLVED/APP 6
B. Mozart, Symphony no. 39 in Parallel!

major, K. 543, Allegretto
SOLVED/APP 6
HC
SOLVED/APP 6

SOLVED/APP 6
HC I
SOLVED/APP 6

Interrupted!
SOLVED/APP 6
SOLVED/APP 6
B. Mozart, Symphony no. 39 in PIP

SOLVED/APP 6

SOLVED/APP 6
Eb: I IV V I
SOLVED/APP 6
Eb: I IV V I
only one cadence? only one phrase!

SOLVED/APP 6
Eb: I IV V I
only one cadence? only one phrase!

‘single phrase’
Nested Sentence!
B. Mozart, Violin Sonata inC major, K. 14, Menuetto secondo en Carillon

Periods made of 2 sentences!
or….
Period made of 1 sentence!

EXAMPLE 16.5 Periods Composed of Sentence Structures
A. Period Composed of a Repeated Sentence:
B. Period Composed of a Single Sentence:

which do not truly comprise two periods. The cadence in m. 8 is not
conclusive enough to close a period; it is only a half cadence, which requires a
Double Period:
consequent authentic cadence. The necessary PAC does not appear until m. 16,
yet the 16 measures do not truly comprise one giant period either.
Antecedent
EXAMPLE 16.6 =Piano
Beethoven, Period,
Sonata inConsequent = Period
AJ, major, op. 26, Andante
Modified Periods:
Echo
CHAPTER 16 OTHER SMALL MUSICAL STRUCTURES 319
EXAMPLE 16.8 Beethoven, Piano Sonata inC minor, "Pathetique," op. 13, Rondo
Modified Periods:
Occasionally, composersAsymmetrical
write periods comprising an uneven
of distinct phrases, which create three-phrase, five-phrase,
seven-phrase periods. We call these asymmetrical periods.
16.10 is an example of a three-phrase asymmetrical period
includes repeated phrases creating the pattern aabcc:
a b c
II: I HC :II v HC II: I PAC :II
phrase 1 phrase 3 phrase 4
phrase 2 phrase 5
String Q!tartet inC major, "Emperor," op. 76, no. 3,

1.77, Poco adagio; cantabile
Phrase Group!
2. A series of phrases punctuated by weak cadences-none of which is

strong enough to close a passage-does not constitute a period.
Rather, it is just a phrase chain, or phrase group. Sometimes a
composer writes a series of phrases, each of which contains new
material, but the cadences in each, save for the final phrase, are
weak or even more like caesuras. Thus, we must consider the
strength of the final cadence in order to discriminate a period from
a phrase group.
Example 16.9 has three distinct four-measure units, but only the
third closes with a real cadence. The first unit, which alternates
tonic and dominant, barely qualifies as a phrase, and the second
unit merely elaborates tonic with a IV-I motion. Yet, given that the
REVIEW: MOTIVES
C. Beethoven, Symphony no. 3 in major, "Eroica," op. 55, Allegro con
1.
2.
EXAMPLE 3.7 Transposition
A. Beethoven, Symphony no. 3 in major, "Eroica," op. 55, Allegro

Composers often embellish motives by ad
chordal skips and passing tones, which risk c
integrity and audibility. For example, Haydn
scalar figure (FII-GII-AII-B) as the primary mo
quartet movements, and, in order to create a m
Transposition - Real or Tonal?
displaces the final two pitches one octave low
B. Mozart, Symphony no. 40minor-seventh
in G minor, Trio
leap from G# to A# (Example 3.6B
the motive in its next statement by filling in n
with stepwise motion, but also the whole ste
the chromatic passing tone Fx [Example 3.6B
C. Beethoven, Symphony no. 3 in major, "Eroica," op. 55, Allegro con
1.
2.
EXAMPLE 3.7 Transposition
A. Beethoven, Symphony no. 3 in major, "Eroica," op. 55, Allegro

Composers often embellish motives by ad
chordal skips and passing tones, which risk c
integrity and audibility. For example, Haydn
scalar figure (FII-GII-AII-B) as the primary mo
quartet movements, and, in order to create a m
REAL Transposition
displaces the final two pitches one octave low
B. Mozart, Symphony no. 40minor-seventh
in G minor, Trio
leap from G# to A# (Example 3.6B
the motive in its next statement by filling in n
with stepwise motion, but also the whole ste
the chromatic passing tone Fx [Example 3.6B
C. Mozart, Piano Sonata in D major, K. 576, Allegro
There are two types of transposition, tonal and real. Tonal

transposition maintains the generic (numerical) size of the intervals but
alters the quality of the intervals in order to remain within the key. Real
TONAL Transposition
transposition maintains the specific (both generic and quality) interval
size between each member of the motive and the transposed repetition of
the motive. For example, given the motive E-F-G in the key of C major, a
tonal transposition up a third would yield the pitches G-A-B; we sacrifice
the exact intervals of the original (m2 followed by M2) in order to stay
firmly in the key of C major. A real transposition would yield the pitches
Retrograde inversion is a transformation that combines inversion and
retrograde. Thus, one performs an inverted form of the motive backwards.
MODIFIED REPETITION -
Composers rarely employ retrograde and retrograde inversion, given how
difficult they are to aurally recognize. We can summarize these transformations
using a contour diagram such as the one shown in Example 3.12. Notice that
PITCH TRANSFORMATIONS
since the model (taken from one of the cantus firmi in Chapter 2) creates an arch
(ascent followed by descent) and that the first three pitches (G-A-C) are
reversed at the end (C-A-G), the retrograde version and the model are quite
audibly related. Study each of the transformations, all of which are tonal (as
opposed to real, and thus remain within G major), and notice how pitches and
intervals are related in each of the transformations.
EXAMPLE 3.12 Contour Transformations

MODIFIED REPETITION
Composers -
often increase or decrease proportion
duration of motivic repetitions. A proportional in
RHYTHMIC TRANSFORMATIONS
augmentation, and a decrease is called diminution. Ins
shown in Example 3.14A. Example 3.14B presents th
Adagietto movement from Mahler's Symphony no. 5. The
the well-known main motive occurs in the first violin
restatement of the tune in the cello is augmented by a facto
EXAMPLE 3.14 Rhythmic Transformations
A.
B. Mahler, Symphony no. 5, Adagietto, mm. 1-4 and 10-14
1.
EXAMPLE 3.17 Bach, Invention in major
Listen to Example 3.17. The opening motivic gesture consists of two

parts: an ascending broken-chord figure followed by a balancing
descending figure. However, given that these two parts each contain the
exact same rhythmic figure (thirty-second notes followed by sixteenth
REVIEW: VIIO7
ENHARMONIC
REINTERPRETATION
We give you this…. You write this
120
viio7 w/ root of A
viio7 w/ root of C
viio7 w/ root of Eb
and/or
viio7 w/ root of D#
Why are we even doing this?
heard as vid; but because of where it progresses, it actuall
notated as a root-position vii 07 in the new tonal area.
Be aware that composers are not consistent in the
enharmonic modulations using diminished seventh chords.
the chord either as it functions in the new key or as it functi
(in which case it would appear to have an unusual resolutio
EXAMPLE 28.12 Analyzing Enharmonic Modulations Using vii07
Analytical Interlude
Example 28.13 illustrates two distant modulations from the
CHAPTER 28 NEW HARMONIC TENDENCIES 601
EXAMPLE 28.13 Sample Analyses
A. Beethoven, Sonata inC minor, op. 13, i
B. Schubert, String Quartet in A minor, D. 804, I

REVIEW: TRANSPOSING
INSTRUMENTS
TRANSPOTION
WHEN YOU SEE A ‘C’…
…YOU PLAY YOUR KEY!

Somebody
TRANSPOTION
Written Pitch

Sounding or Concert Pitch
Somebody
Written Pitch
Direction of transposition
(for our purposes)
Sounding or Concert Pitch

Clarinet in Bb

Clarinet in Bb
…YOU PLAY B-FLAT

written
Clarinet in Bb
…YOU PLAY B-FLAT Sounding

or Concert
written
Clarinet in Bb M2
…YOU PLAY B-FLAT Sounding

or Concert
written
Horn in F
…YOU PLAY _____ Sounding

or Concert
written
Horn in F P5
…YOU PLAY AN F Sounding

or Concert
Good luck!

Total Theory Review

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Total Theory Review

Uploaded by

Copyright:

Available Formats

QUICK REVIEW:

What’s going on here?

Step-descent basses that fall directly from tonic to dominant (l-7-6-5)

What’s going on here?

Step-descent basses that fall directly from tonic to dominant (l-7-6-5)

Repeating Bass line

A. Bach, Prelude in Major, The Well-Tempered Clavier, Book 2, BWV 876

B. Bach, Prelude (reduction)

What’s going on here?

Ignoring the supertonic harmony is not a reasonable inte

A. Bach, Prelude in Major, The Well-Tempered Clavier, Book 2, BWV 876

B. Bach, Prelude (reduction)

What’s going on here?

Ignoring the supertonic harmony is not a reasonable inte

A. Bach, Prelude in Major, The Well-Tempered Clavier, Book 2, BWV 876

B. Bach, Prelude (reduction)

Ignoring the supertonic harmony is not a reasonable inte

A. Bach, Prelude in Major, The Well-Tempered Clavier, Book 2, BWV 876

Ignoring the supertonic harmony is not a reasonable inte

A. Bach, Prelude in Major, The Well-Tempered Clavier, Book 2, BWV 876

RETROGRESSION is a functional movement from

▸ Use minimal motion - but sometimes a skip/

▸ Use minimal motion - but sometimes a skip/

▸ Figured Bass is Dumb! It tells you exactly what to

▸ Use minimal motion - but sometimes a skip/

▸ Figured Bass is Dumb! It tells you exactly what to

▸ Use minimal motion - but sometimes a skip/

▸ Figured Bass is Dumb! It tells you exactly what to

▸ Look out for parallel-possibilities

▸ Look out for parallel-possibilities

▸ V7 - I and V7 - vi and V7/x - x

▸ The leading tone in a iii chord needn’t.

▸ Look out for parallel-possibilities

▸ The leading tone in a iii chord needn’t.

▸ Other tendency tones that must resolve?

▸ Other tendency tones to resolve?

▸ SD b2 going toward LT (often through SD 1)

Cadence in New Key

• vii˚ / x (or inversions)

• vii˚7 / x (or inversions)

• vii⌀7 / x (or inversions)

x = a major or minor chord

• vii˚ / x (or inversions)

• vii˚7 / x (or inversions)

• vii⌀7 / x (or inversions)

• x = a major or minor chord

MPLE 18.2 Second level analysis?

The second method is to alter diato

The second method is to alter diatonic

EXAMPLE 18.11 Applied vii 0 and vii 07

Incorporating Applied Chords Within Phrases

EXAMPLE 18.11 Applied vii 0 and vii 07

Incorporating Applied Chords Within Phrases

• When a chromatic tone is prepared by another voice.

(Remember chromatic alteration?

• When a chromatic tone is prepared by another voice.

But… if you have to use a cross relation, avoid using

A. Haydn, String Quartet in F minor, op. 55, no. 2, Hob 111.61

E. Schubert, Piano Sonata in major, op. 122, D. 568

372 THE COMPLETE MUSICIAN

372 THE COMPLETE MUSICIAN

372 THE COMPLETE MUSICIAN

372 THE COMPLETE MUSICIAN

372 THE COMPLETE MUSICIAN